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Marc Bolan hanging out with Stan Lee, Siouxsie Sioux, Billy Idol, Alice Cooper, The Damned & more!


Marc Bolan and Siouxsie Sioux.
 
If you don’t already hold the rock-solid opinion (fact?) that Marc Bolan was one of the greatest things ever to happen to music, then hopefully this post will help you see the light of love which was the elfin leader of T. Rex. From a very young age considered himself a “superior being.” A bold statement which would turn out to have a chunk of glittery truth to it as Bolan would be one of the first and most influential innovators of glam rock.

Bolan’s short life was full enduring achievements including his fairy folk duo Tyrannosaurus Rex (with Steve Peregrin Took), and later his electric hit machine T. Rex. He had his own television show, Marc and would collaborate with David Bowie, Ike and Tina Turner and Alice Cooper. In March of 1973, T. Rex’s musical juggernaut “20th Century Boy” became a top ten charting single for the band. A few months later, Bolan sat down with the sixteen-year-old music journalist Cameron Crowe for an interview with CREEM magazine. As a huge fan of Bolan and Crowe (the man wrote Fast Times At Ridgemont High THE END), I was pretty giddy when I came across the entire interview online as it’s a short, entertaining read mostly due to Bolan’s frankness about some of his musical peers. Here’s Marc getting real with a teenage Cameron Crowe in 1973 about his alleged “feud” with Bowie:

“In England, they tried to sell his records by saying in the ads that were “high in the American charts,” when in actuality they were only 144th. Them, media-wise, they created me into something of a monster. They’d put me on the cover of their papers and sell a million more copies than they usually sell; then suddenly, because I wouldn’t talk with them as much as I did when I first started, they’d say I hated David Bowie. Essentially what they tried to do with Bowie was create another Marc Bolan, but the interest with the kids was not there. His concerts have not done well over there. “Starman” only got to about twelve on the charts, which is not good. And the other single didn’t happen at all—“John, I’m Only Dancing”—it was very bad actually.

I’ve known David for about five years, and he’s all right. I’ve played on a lot of his records. I mean, I don’t consider David to be even remotely near big enough to give me any competition. At the time the feud story hit England, my records were number one, and they stayed number one while David’s never came near. I don’t think that David has anywhere near the charisma or balls that I have. Or Alice has. Or Donny Osmond has got. He’s not gonna make it, in any sort of way. The papers try and manufacture a lot of things. They tried to do something with Slade. Slade is just a jive little group who are quite sweet and bang about a lot. They’re very valid for what they do, but I don’t think anyone can seriously compare them to what I do. Whether you think I’m good or bad, I’m still the best-selling poet in England. I don’t think anyone in Slade can write four words. And I don’t mean to be condescending; they’re nice people.”

 

A teenage Cameron Crowe interviewing Marc Bolan for CREEM magazine in 1973.
 
Categorizing an up-and-coming David Bowie as “all right” and comparing him to Donny Osmond is some next level, Alexis Carrington side-eye by Bolan. I’m so glad Cameron Crowe was there to document Marc Bolan confirming he thinks he is better than Bowie—which, as Bolan noted, requires balls. This interview (and others) might make Bolan seem like the kind of acquaintance living only for the opportunity to talk shit about you behind your back the minute you leave, but he was a very popular party guest.

Below you will see photos of Bolan hanging out with Keith Moon, members of the Ramones, a young Billy Idol, one of his personal heroes Stan Lee (Bolan adored Marvel Comics), and The Damned. Bolan toured with The Damned shortly before his death in September of 1977 and the promotional images of Bolan and a 21-year old David Vanian are the punk rock equivalent of awkward family photos.

So, let’s start with those first, shall we?
 

David Vanian of The Damned and Marc Bolan 1977.
 

 

 

Marc Bolan and Robert Plant.
 
More Marc and his heavy frenz after the jump…

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Posted by Cherrybomb
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08.21.2018
10:40 am
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That time Marc Bolan interviewed Stan Lee, ‘nuff said?
09.12.2017
08:21 am
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Marc Bolan loved comic-books. The Beano, The Dandy, The Topper, he read ‘em all and enjoyed the hilarious hijinks of the cheeky school kids contained therein. But he had a particular love for Marvel Comics and their far out superheroes like Silver Surfer and Doctor Strange. Bolan went so far as to even make reference to his favorite comic-book heroes in songs like “Mambo Sun” where he sang:

On a mountain range,
I’m Doctor Strange for you…

Yes, Marc, you are, oh but you are…

So, maybe it was inevitable, fated even, that Bolan would one-day interview legendary Marvel Supremo Stan Lee.

In 1975, Bolan had an occasional stint doing interviews on BBC radio program Today. It was the Beeb’s way of “getting down with the kids” by having a pop star talk to the kind of hip people they would like to interview in the hope this would bring in a younger audience to their flagship news and current affairs show.

That October Stan Lee was in London to launch a new British comic book The Titans. He was also in the Big Smoke to give a “one performance only” at the Roundhouse where he was to talk about “all your favorite Marvel superheroes” followed by the opening of a major exhibition of Marvel Comic’s artwork at the Institute of Contemporary Arts.

Having Lee in London was too good an opportunity for Bolan to miss, so an interview was arranged…
 
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To get some more skinny on Bolan’s love of Marvel Comics let’s spool forward a year to when Neil Tennant—long before he was one-half of the Pet Shop Boys—interviewed Bolan about his love of Marvel Comics:

“I’ve been into Marvel since 1967.  The Silver Surfer, in particular, was one I liked, Dr. Strange was another.  At that time they were very weird compared to the other comics on the market, though they got more commercial since then and Stan Lee was a great writer.”

“It was nice meeting Stan last year, he was lovely to interview.  Really he’s a hustler, a solid gold easy hustler! That’s just the way Comic guys should be,  he’s got such a lot of energy.”

“We talked about the possibility of me creating a super-hero for him.  something along the lines of Electric Warrior, a twenty-first century Conan.”

“In fact, I don’t like Conan as a character—I think he should be something less of a barbarian, more like one of Michael Moorcock’s characters.  You could make a much better composite character using Moorcock’s Elric, with a bit of the Silver Surfer, a bit of Thor, and create a far more involved character, a character more in touch with now ...”

 
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Bolan as he appeared in his own comic strip ‘The Magic of Marc’ from ‘Jackie’ magazine 1972.
 
More Marc Bolan on Marvel Comics plus his interview with Stan Lee, after the jump…

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Posted by Paul Gallagher
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09.12.2017
08:21 am
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‘Blade Runner’: The Marvel Comics adaptation

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Never trust a critic. Most of them know fuck all.

Strange as it may seem now, Ridley Scott’s movie Blade Runner received a decidedly mixed bag of notices upon its first release in June 1982. Some newspapers scribes considered Harison Ford wooden; the voice-over cliched; the storyline way too complex; the whole damn thing butt-numbingly slow and just a tad boring. One broadsheet even described the film as “science fiction pornography,” while the LA Times called it “Blade Crawler” because it moved along so slowly.

But some folks knew the film’s real worth—like Marvel Comics.

In September 1982, Marvel issued a “Super Special” comic book adaptation of Blade Runner. This was quickly followed by a two-part reissue of the comic during October and November of that year. This was when those three little words “Stan Lee presents” guaranteed a real good time and Marvel’s version of Blade Runner fulfilled that promise.

The comic was written by Archie Goodwin with artwork from Al Williamson and Carlos Garzon with Dan Green and Ralph Reese. While movies have time to develop story, plot, and character, and create their own atmosphere, comic books get six panels a page to achieve the same. Marvel’s Blade Runner managed the transposition from screen to page quite successfully. The artists picked up on some of the movie’s most iconic imagery while still managing to add their own take on the Philip K. Dick tale. Williamson offered his own (cheesy) definition of the term “Blade Runner” at the very end of the story:

Blade runner. You’re always movin’ on the edge.

What???

You can read the whole comic here. Click on images below for larger size.
 
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More from Rick Deckard , Roy Batty and co., after the jump…

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Posted by Paul Gallagher
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05.10.2017
11:19 am
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The Son of Satan: That time Marvel Comics got into the Antichrist

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Three little words can change everything. Think of all the times you’ve said “I love you,” or “I hate you,” or even just asked “How are you?” and then experienced the sometimes dramatic or emotional events that followed.

On April 8, 1966, TIME published three little words on the cover of its magazine that changed lots of things: “Is God Dead?”

No one knew the answer to this question for sure but in a growing secular world, it seemed at least a very real possibility.

With no God, there was a gap in the market, and Satan looked the most likely to fill it. A string of books and movies like Rosemary’s Baby, The Devil Rides Out, and The Exorcist appeared to answer TIME’s question. Satan was no longer the poster boy for drug-addled weirdos, Satan was now big business.

In the early 1970s, Marvel Comics supremo Stan Lee followed the trend for all things horror and the occult. Under Lee, Marvel shifted away from the more traditional good guy superheroes into far darker and more ambiguous characters. In a decade of Vietnam, civil rights battles, bloody assassinations, and growing student protest, web slingers and men in tin suits just didn’t cut it so well with the audience. In came Ghost Rider, The Tomb of Dracula, Werewolf by Night, and The Monster of Frankenstein—all produced by a team of talented artists and writers that included Roy Thomas, Gary Friedrich, Mike Ploog, Gerry Conway, Archie Goodwin, Gardner Fox, Marv Wolfman, Joe Maneely and, of course, Stan Lee. His hunch for a shift away from superheroes had been right and these comics sold extremely well.

But Lee had a bigger and even more dangerous idea—if vampires and werewolves sold well then why not go for the big kahuna himself? Lee wanted to do a comic book based on Satan. He wanted the Prince of Darkness to be the comic’s star and hero. He broached the idea with writer Roy Thomas. Thomas had reservations right away. This idea was going to be big trouble and who needs that kinda shit?  But Tomb of Dracula sells. Thomas pointed out that Dracula worked because it was about the team of vampire killers who were in the hunt for the evil Count and not the nasty, rotten bloodsucker himself. A comic just on Satan wouldn’t offer the possibility to develop the narrative or allow for good and evil.

But still, there was something here. Thomas went off and kicked the idea around for a bit. Then he had a simple suggestion that would make Lee’s idea work:

“What if you made it Son of Satan? You could still have Satan as a character, but he’s not the hero.”

Daimon Hellstrom, aka the Son of Satan, first appeared in issue #1 of Ghost Rider, September 1973. Hellstrom was then marketed via the try-out strand Marvel Spotlight from October 1973-October 1975. The readership seemed to dig the great moral dilemmas Daimon faced as a man born of a mortal woman (Virginia Wingate) but was still under the influence of his old man, the great beast.

Daimon’s adventures in Marvel Spotlight led to his own comic Son of Satan in 1975. The high hopes for this vehicle burned quickly, and the title crashed to earth after a mere eight issues in 1977. Tastes had changed. Satan was not as popular. And agents of Christianity claimed Marvel was corrupting the youth of America by encouraging them to worship the devil….quelle surprise...

This may all well be true, but you see for me I’m not sure that’s exactly the case. For although Daimon Hellstrom may have been Satan incarnate, he may have had the birthmark of a pentacle on his chest, and stolen his father’s powerful trident to usurp his evil ways, but the problem, well at least for me, was that the Son of Satan looked kind of lame—he just didn’t look the part. For a kick-off, he was usually bare chested like Sub-Mariner. He also wore yellow knee-high boots and a flighty yellow cape—a bit like Doctor Strange. But that’s nothing to compare with the real deal killer which was that Daimon Hellstrom, the Son of Satan wore spandex. That’s right, Little Lord Satan wore red fucking spandex leggings! How in the name of Zuul did that happen? How could any parent let their child go out of the house dressed like that, let alone the spawn of Satan? No wonder Satan was so pissed off at his goofy progeny….

You can find editions of the whole Son of Satan and Marvel Spotlight on Son of Satan here.
 
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More thigh-bulging Son of Satan stuff, after the jump…

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Posted by Paul Gallagher
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05.02.2017
11:06 am
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Jack Kirby’s unpublished adaptation of ‘The Prisoner’

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Jack Kirby was the man who imagined our world of superheroes. In partnership with Stan Lee and Joe Simon, Kirby created the likes of Captain America, Iron Man, the Fantastic Four, Hulk, Thor, Doctor Doom, the Black Panther and many, many others.

Kirby’s input had a bigger and longer lasting effect than just the words or concept. His drawings helped shape our worldview—for he was the artist who created the look of these superheroes. When we think of Captain America or Iron Man—we’re seeing these characters through the prism of Kirby’s imagination.

Jack Kirby was born in New York to an Austrian-Jewish immigrant family in 1917. Though life was poor and tough, Kirby had an inkling he was going to be an artist. Hardly the sort of work for a working class kid from the Lower East Side—but Kirby had a compulsion that made him draw. He started doodling, then sketching, and then drawing full comic strips. He knew he would never be a Rembrandt or a Gauguin but he did know that he would become an artist. He took to drawing comics because the comic strip was the art of the working man. Kirby later recalled:

I thought comics was a common form of art and strictly American in my estimation because America was the home of the common man, and show me the common man that can’t do a comic. So comics is an American form of art that anyone can do with a pencil and paper.

His talent for drawing led to his early career as a graphic artist. He created single panel health advice cartoons such as Your Health Comes First!!! and various advisory comic strips. When Kirby switched jobs to Fox Feature Syndicate, he teamed up with Joe Simon—together they created Captain America.

After the Second World War Kirby worked for DC Comics and then Marvel—where his legendary partnership with Stan Lee was responsible for creating our world of superheroes—a world comparable to the myths of ancient Greece. However, disagreements with Lee over credit, led Kirby to quit Marvel and rejoin DC in the late 1960s, where he produced his superb Fourth World series.

In 1968, Kirby became obsessed with a new TV series called The Prisoner. The series depicted a spy relocated to a mysterious island where he is interrogated for information. As an anti-authoritarian libertarian, Kirby identified with the central character No. 6 played by Patrick McGoohan. Kirby said the series represented:

...an individual’s stubborn attempts to wrest freedom from subtle but oppressive power.

This was analogous to his view of politics as well as his creative relationships with others—most notably Stan Lee.

In the early 1970s, Marvel decided to produce a comic book version of The Prisoner. Marvel’s then editor Marv Wolfman set Steve Englehart and Gil Kane to work on it. However, Stan Lee—knowing how much Kirby liked the series—intervened and asked him to work on the comic book.

Kirby produced a complete first issue lifted directly from the series’ first episode “Arrival.” Unlike his other work, Kirby’s The Prisoner is an almost faithful retelling of the TV show. The finished drawings were partially inked and lettered by Mike Royer–but the idea was dropped and the comic never saw light of day.
 
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Read the rest of Jack Kirby’s ‘The Prisoner,’ after the jump…

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Posted by Paul Gallagher
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09.20.2016
09:57 am
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A Stan Lee action figure because YES!
04.06.2015
06:28 pm
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This 1/6 scale action figure of Stan Lee is a pretty damned good depiction of him if you ask me. It’s a limited-edition and they’re only 1000 of ‘em being made by Das Toyz. So if you must own one, Mr. Lee is $249.99 a pop at Big Bad Toy Store. They’re taking pre-orders now.

The Stan Lee action figure comes with:

Outfit

- Sports jacket
- Black long sleeve sweater
- White dress shirt
- Gray pants
- White shirt
- Belt w/ buckle
- Pair of socks
- Pair of shoes

Accessories

- 2 x interchangeable heads
- 4 x posing hands
- 2 x eye glasses
- 1 x wrist watch
- 2 X rings
- Handkerchief

Excelsior!


 

 

 
via Nerd Approved and Laughing Squid

Posted by Tara McGinley
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04.06.2015
06:28 pm
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‘Will the real Stan Lee please stand up?’: Comics icon appears on ‘To Tell the Truth,’ 1971
01.19.2015
02:13 pm
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If you skip past the first fourteen minutes of this edition of To Tell the Truth from 1971, you can bypass some desultory business with a palmistry expert and get to the good stuff—one of the founding figures of modern comic books, Stan Lee! This episode was shot in color, which made it much easier to savor the grooooovy, Laugh-In-inspired decor.

Of course, Stan Lee had an enormous impact on the development of comic books as well as their current dominance in Hollywood. Along with Steve Ditko and Jack Kirby, Lee created most of the iconic characters whose names adorn the top-grossing movies of the last several years—Spider-Man, the Hulk, the Fantastic Four, Iron Man, Thor, the X-Men, and so on.

I won’t say which one of the three fellows it is, but I will say that two of the four panelists (Peggy Cass and Bill Cullen)* were able to suss out who the real Stan Lee is.
 

 
via The Untold Story
 
* Blew this detail the first time around. Thanks to herschel for pointing out my mistake.

Posted by Martin Schneider
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01.19.2015
02:13 pm
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Nuff said? Stan Lee’s letter confirming Steve Ditko as Spider-Man’s co-creator
05.28.2014
10:54 am
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In 1999, comic book hero Stan Lee wrote an open-letter confirming Steve Ditko’s role as co-creator of Spider-Man. The letter was in response to some public niggling between Ditko and Lee over who did what in the creation of the character.

The controversy came about after Lee “reminisced in Comic Book Marketplace about his inspirations for writing an acclaimed late 1965 issue of Amazing Spider-Man.” This led to artist Steve Ditko breaking his long silence on the subject, as told in Sean Howe’s Marvel Comics—The Untold Story:

“Stan never knew what was in my plotted stories,” the artist wrote to the [Comic Book Marketplace] editors, “until I took in the penciled story, the cover, my script and Sol Brodsky took the material from me and took it all into Stan’s office, so I had to leave without seeing or talking to Stan.”

A few months later, after Lee was identified in TIME magazine as the creator of Spider-Man, Ditko popped up on that magazine’s letters page, too:

“Spider-Man’s existence needed a visual concrete entity,” Ditko wrote. “It was a collaboration of writer-editor Stan Lee and Steve Ditko as co-creators.”

This time Lee picked up the phone and called Ditko, for the first time in more than thirty years.

“Steve said, ‘Having an idea is nothing, because until it becomes a physical thing, it’s just an idea,’” Lee recalled.

“And he said it took him to draw the strip, and to give it life, so to speak, or to make it actually some- thing tangible. Otherwise, all I had was an idea. So I said to him, ‘Well, I think the person who has the idea is the person who creates it. And he said, ‘No, because I drew it.’ Anyway, Steve definitely felt that he was the co-creator of Spider-Man. And that was really, after he said it, I saw it meant a lot to him that was fine with me. So I said fine, I’ll tell everybody you’re the co-creator. That didn’t quite satisfy him. So I sent him a letter.”

In the letter dated August 18th, 1999, Lee wrote:

To Whom It May Concern:

I would like to go on record with the following statement…

I have always considered Steve Ditko to be Spider-Man’s co-creator.

When I first told Steve my idea for a shy, teenaged high-school science student who’d be bitten by a radioactive spider, thus gaining the ability to stick to walls and shoot webs, Steve took to it like a duck to water.

Steve’s illustrated version of Peter Parker/Spider-Man and his coterie of supporting characters was more compelling and dramatic than I had dared hope it would be. From his very first panel, Steve created and established the perfect mood and gestalt for Spider-Man.

Also it goes without saying that Steve’s costume design was an actual masterpiece of imagination. Thanks to Steve Ditko, Spidey’s costume has become one of the world’s most recognizable visual icons.

Nor can I forget to credit Steve with the many, many brilliant plots he furnished as the strip continued to increase in popularity with each passing month. So adept was he at story-telling, that Steve eventually did most of the plotting and illustrations while I, of course, continued to provide the dialogue and captions.

I write this to ensure that Steve Ditko receives the credit to which he is so justly entitled.

Yours sincerely,

Stan Lee

Nuff said?! Perhaps not: Ditko was apparently upset that Lee used the word “considered,” as Lee explains in the clip from Jonathan Ross’ BBC documentary In Search of Steve Ditko embedded below.

Check out more of Sean Howe‘s on-line supplement to Marvel Comics: The Untold Story here. Below, Stan Lee’s original letter, plus a selection of Steve Ditko’s artwork for Spider-Man after the jump.
 
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Stan Lee discusses Steve Ditko’s role in the creation of Spider-Man—and Ditko’s reaction to this very letter—with Jonathan Ross from the BBC documentary In Search of Steve Ditko:

 
Some Ditko splash-pages from Spider-Man, after the jump…

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Posted by Paul Gallagher
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05.28.2014
10:54 am
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Bill Murray as The Human Torch in ‘The Fantastic Four’ radio series, 1975
09.05.2013
04:10 pm
Topics:
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A young Bill Murray stars as The Human Torch, aka Johnny Storm, in this 1975 radio adaptation of The Fantastic Four, narrated by Stan Lee.

This episode is #4 “Dreaded Doctor Doom.” You can listen to the whole series (10 eps) here.

‘Nuff said?
 

 
Via Scheme 9

Posted by Paul Gallagher
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09.05.2013
04:10 pm
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‘Searching for Steve Ditko’: Spider-Man’s reluctant co-creator (and the Ayn Rand connection)
08.28.2013
01:02 pm
Topics:
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The name Steve Ditko probably means very little to you if you aren’t a comics fan, but if you are, then the name is well known to you: Steve Ditko is the co-creator of Spider-Man, the original artist who envisioned the character along with Stan Lee. The worldwide smash of the Spiderman film franchise saw many Ditko-drawn Spider-Man classics republished and a concurrent growing fascination with the reclusive artist, who is still working in New York, at age 85.

Aside from Spider-Man, Ditko was also the co-creator, again with Lee, of the cosmic Dr. Strange, who was my favorite comic book hero as a child. The comic panels of Dr. Strange were some of the most vividly psychedelic ever seen in comics, and they contrasted sharply with his rendering of Peter Parker’s drab world, which was almost Soviet in comparison.
 
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In the mid-60s, Ditko began to chafe at Stan Lee’s dictatorial editorship of Spider-Man and eventually got Lee to agree to let him plot Spider-Man—unheard of at Marvel—while control freak Lee would write the actual dialogue suggested from Ditko’s stories. The arrangement did not last long. Spider-Man as originally written was very much a conflicted character as we all know, but the character also had a lot of anti-establishment appeal—he was a smartass—and this is one of the many reasons the character took off in the heady era of the ‘60s. At the time that Ditko’s grasp on Spider-Man tightened, so did his interest grow in the Objectivist philosophy of Russian-born novelist, Ayn Rand. When Rand’s humorless black and white moralizing started creeping into the Spider-Man stories, Lee balked and soon the two men were not speaking to each other. Eventually Ditko left, leaving behind a character that would go on to become a billion dollar enterprise. He would never draw Spider-Man again and has essentially erased himself as much as possible from the character’s history.

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It’s not much of a stretch to imagine that Ditko sees himself as a real-life “Howard Roark,” Rand’s fictional architect in The Fountainhead, a man who refuses to compromise his vision. Rand’s influence was even more obvious in his right wing vigilante character Mr A, who would throw someone off a building for disagreeing with him. His work became didactic, shrill, hectoring and rightwing his influence waned. Mr. A was like Bill O’Reilly as a superhero. What teenager wants to be yelled at by a moralistic superhero? In the opinion of many, his work degenerated into fascistic rhetoric and lunacy from the late 1960s onwards.

 

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There have been almost no interviews, ever, with Steve Ditko. While really not a hermit or a recluse, he’s an intensely private person and refuses all interviews, although there are stories of him speaking to a fan ballsy enough to ring his doorbell, but always standing in the doorway, never inviting them into his studio. In his BBC documentary In Search of Steve Ditko, otaku British talkshow host Jonathan Ross tracked Ditko down in New York City and called the artist on the telephone. Ditko politely refused his request for an on camera interview. But when Ross (and Neil Gaiman) showed up on his doorstep, he did in fact entertain them, although not on camera.

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Blake Bell’s Strange and Stranger: The World of Steve Ditko, a coffeetable book published by Fantagraphics, is a wonderful and fascinating look at Ditko’s life and work. Kudos to Bell for putting together such a volume which was clearly a labor of love and unique erudition. I can’t imagine how much shit he had to go through to be able to put together such a book. I’m sure Steve Ditko was no help!

Below, Jonathan Ross’s wonderful BBC documentary Searching for Steve Ditko:
 

Posted by Richard Metzger
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08.28.2013
01:02 pm
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Mini-Lee: Stan Lee meets his mustachioed 7-year-old doppelgänger
05.23.2013
11:31 am
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While fan conventions always brings out the most imaginative of nerdish costumes, it is rare that I’m truly surprised. However, this little girl from last weekend’s Motor City Comic Con, in full Stan Lee drag,  is the living end. The… living… end. (She’s even doing her little Spider-Man web-slinger move!)

Stan’s “Mini-Me” is 7-year-old badass Isabella Cracchiolo whose father Vincent recently covered the convention for Bleeding Cool.
 

 
Stan Lee girl
 

Posted by Amber Frost
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05.23.2013
11:31 am
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Communism’s Mightiest Super-Heroes: What if Stan Lee and Jack Kirby had been Russian?

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The Freedom Collective is a one-shot comic that pays homage to the story-telling and artistry of Stan Lee and Jack Kirby, and asks:

What if…those two giants had lived and worked in Russia and shared its hopes and fears of the time?

It’s a neat idea and shows ‘Communism’s mightiest super-heroes, striking at the heart of evil Capitalism for the workers of the world!

Can the Krimson Kommisar, MIG-4, Mastodon, Ajys and Homeland defeat the power of the evil Chief? It is a crime against the State not to buy the comic and find out. And crimes against the State are taken VERY seriously.

Written by Igor Sloano and Comrade Barr, with Art by Domski Regan and Comrade Barr, The Freedom Collective is produced by Rough Cut Comics, and has already received high praise from The Jack Kirby Collector, Grant Morrison and Alex Ross. It is a must-have for all Comrades of Great Comic Art.

Order your copy here, before its too late!
 
Bonus pictures of the Communist Super-heroes in action, after the jump…
 

READ ON
Posted by Paul Gallagher
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03.12.2013
08:13 pm
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That Old Black Magic: Stan Lee duets with Bauhaus frontman Peter Murphy
09.19.2012
03:26 pm
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Well, sort of…

And while one may be tempted to criticize Lee’s artistic interpretations of jazz standards, you do have to admire his spryness. He’s still incredibly involved in the community (this video was taken at Comikazi, a comic, sci-fi, and fantasy convention), and he’s never stopped working.

Lee’s Spider-Man Chronicle: A Year by Year Visual History is slated for release October first. Not bad for an 89-year-old!
 

Posted by Amber Frost
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09.19.2012
03:26 pm
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Stan Lee’s rant on why ‘fuck you’ isn’t really an insult
09.11.2012
05:00 pm
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60 Minutes needs to hire Stan Lee pronto to take over Andy Rooney’s empty “old guy ranting” chair. Now THAT I would watch! Excelsior!

See more of Stan Lee’s rants at his YouTube channel World of Heroes.
 

 
Via Boing Boing

Posted by Tara McGinley
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09.11.2012
05:00 pm
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‘Nuff Said: Stan Lee ‘naked’ centerfold, 1983
08.24.2012
01:09 pm
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Well, here’s something you don’t see every day: Stan Lee posing centerfold-style for a whimsical behind-the-scenes of office life at a Marvel Comics photoshoot in 1983.

Photographer Eliot R. Brown, who shot this gem, said of the session, “Stan indeed kept his fire-engine-red bikini briefs on—very business-like, I must add. You’d have thought he did this every day.”

From Sean Howe’s Tumblr:

When Stan Lee visited New York in January 1983, the editorial staff was at the peak of its yuk-yuk, hand-buzzer giddiness. They’d been shooting photos of each other in superhero costumes for some of the covers—several staff members appeared on the cover of the last issue of SPIDER-WOMAN—and now they were putting together a comic that consisted wholly of photos of intra-office hijinks. They wanted to include Stan the Man. Lee, the original ringmaster, jumped at the chance to pose for a nude centerfold. Marvel staffers photographed Lee with an oversize comic book covering his private parts; soon after, they received a call from his assistant in L.A. “Stan is wild,” said the assistant. “He should not have been naked for your centerfold. Please. Don’t.” (A Hulk costume was later superimposed over Lee’s body in postproduction.)

Stan Lee was obviously no Burt Reynolds, but he had nice gams 30 years ago, eh?

Via Nerdcore and Sean Howe Tumblr

Posted by Tara McGinley
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08.24.2012
01:09 pm
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